| Summary: | Photographic records of early 1900s polar expeditions encapsulated a paradox: the spectacle of “monotonous” “numbing whiteness” in images of “nothing” that were intended for public exhibition. This article examines expedition photography as an ecosystem of materials and meanings to reconsider the status of the “failed” photographic experiments that have remained sublimate to the iconic images of polar exploration. Light sensitive materials — photographic emulsion layered onto glass plates and strips of flexible transparent celluloid nitrate film — are integral to the registration of the image. However, these materials are also susceptible to the effects of humidity, touch and variations in temperature. Anomalies, such as details that were effaced by overexposure to light and watermarks registered the effects of labour in a polar climate These “failed photographic plates were occluded from exhibition, yet remain integral to the ideation of the incomprehensible in polar expedition narratives. In this context, experimental and “failed” images can be read as part of an ecosystem of interactions and begins to decipher the popularity of Ponting’s 1911 photograph “Ice-Blink”, the image of a seemingly featureless ocean horizon, as the commodification of “nothing” in discursive spaces of exhibition.
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